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Clothing & Accessories

Work, play, fashion, economic class, religious faith, even politics—all these aspects of American life and more are woven into clothing. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessories—from wedding gowns and military uniforms to Halloween costumes and bathing suits.

The collections include work uniforms, academic gowns, clothing of presidents and first ladies, T-shirts bearing protest slogans, and a clean-room "bunny suit" from a manufacturer of computer microchips. Beyond garments, the collections encompass jewelry, handbags, hair dryers, dress forms, hatboxes, suitcases, salesmen's samples, and thousands of fashion prints, photographs, and original illustrations. The more than 30,000 artifacts here represent the changing appearance of Americans from the 1700s to the present day.

Gloucester fishermen working on the North Atlantic were exposed to harsh weather conditions. Waves and freezing rain splashed over the decks and into the dories while the men worked. For some measure of protection, fishermen in the 19th century wore oiled clothes, the precursors to today’s waterproof foul weather gear.

This hat, referred to as a “Cape Ann sou’wester” because of its wide use in the fisheries around Cape Ann, Mass., is made of soft oiled canvas and lined with flannel. It has an elongated brim in the back to keep water from running down the wearer’s neck and inside his clothing. Ear flaps for warmth are also part of the hat’s design.

A catalog from the 1883 International Fisheries Exhibition in London claimed that with the sou’wester, “no class of seamen were so comfortably clothed as the New England fishermen.” At the time of the exhibition’s opening, sou’westers cost about $6.50 per dozen.

This Cape Ann sou’wester was displayed at the London exhibition, courtesy of its manufacturer, A. J. Tower of Boston, Mass. It was part of a display of the latest gear used and worn by American fishermen.

This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.

This print was originally titled and numbered on the text page as 1. Killing Salmon. Henry Sandham. Two fishermen are depicted standing on a boulder beside a stream. They are bringing in a large salmon on a fishing line and a metal hook. A large fish lies behind them, already landed.

The artist was Henry Sandham (1842-1910), a Canadian born illustrator and artist of hunting and fishing scenes.

This wedding veil was designed and made for Princess Stéphanie of Belgium for her wedding to Crown Prince Rudolf of Austria in 1881. The Hapsburg-Lothringen shield dominates the center back of the veil, while the coat-of-arms of Belgium is in the center of the garland of 21 coats-of-arms along the border with Belgian province shields on one side and the Austro-Hungarian on the other. The name "Leon Sacré" and "Bruxelles 1880" are worked in needlepoint by the central border motif of the Belgian Lion. The veil is made in fine Brussels Point de Gaze needle lace embellished with elaborate ferns, lilies, roses and other flowers on a gossamer fine handmade ground powdered with tiny dots. Queen Henriette commissioned Leon Sacré to design the veil for her daughter to be made by the best lace makers in Belgium. It was a wedding gift from the city of Brussels

After a whale was captured and killed, its carcass was towed by the whaleboat to the side of the mother ship for processing. Cutting up the whale was done by crewmen standing on a wooden plank, or cutting stage, rigged out over the side of the ship so that they could stand directly over the body. Crewmen used this canvas “monkey belt” to secure themselves while they stripped the whale of its blubber. It was dangerous and slippery work. If a sailor slid into the water he risked drowning or being attacked by sharks looking for an easy meal.

Fishermen working trawl lines in the 19th century often suffered cuts and rope burns on their hands. They typically wore mittens or gloves to protect themselves when hauling the long lines aboard and removing the fish. These sturdy but soft rings, called nippers, are knitted of woolen yarn and stuffed with more wool. They would have fit around a fisherman’s palms, protecting his hands while his fingers remained free for tasks requiring dexterity.

These nippers were probably made in Gloucester, Mass., for use by local fishermen working on offshore schooners. The shallow, fertile banks stretching from Georges Bank east of Nantucket to the Grand Bank off Newfoundland, Canada, were prime fishing areas for Gloucestermen. Cod, haddock, and halibut were the principal species caught by fishermen working aboard schooners in these waters in the late 19th century.

These nippers were among the fishermen’s clothing, tools, and apparatus featured by the United States in the 1883 International Fisheries Exhibition in London.

This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.

This print was originally titled and numbered on the text page as 11. Hunting the [Virginia] Deer. A.B. Frost. It depicts a hunter crouched behind a log, aiming a rifle at a stag.

The artist was Arthur Burdette Frost (1851-1928), known for his wildlife and sporting scenes even though he had an aversion to deer hunting. Frost was a noted illustrator (Uncle Remus), even though he was color blind.